Quartz 4

THE KITE RUNNER

13 min read

This book is dedicated to Haris and Farah, both the noor of my eyes, and to the children of Afghanistan.

The phrase “you are the noor of my eyes” is a poetic expression of deep affection, often used to describe someone who brings light, joy, and meaning into another person’s life. The word “noor” (نور) is an Arabic term meaning “light.” So, when someone says “you are the noor of my eyes,” they are essentially saying that the person is the light or illumination of their eyes, symbolizing love, care, and admiration. It’s a beautiful way of expressing how much someone means to you.

Notes from Internet

Amir is the protagonist of The Kite Runner. He is also the novel’s narrator, which means that he shares his transition from selfish child to self-sacrificing adult from his own perspective. Amir’s internal conflict regarding his failure to defend Hassan as a child guides the entire novel.

As the protagonist, Amir incites the action by choosing to watch Assef rape Hassan instead of intervening, and Amir is unsure how to atone for the guilt that now colors his days. Amir hoped so strongly that bringing home the kite—the one he allowed Hassan to be raped for—would make Baba love him, but Baba is furious with Amir’s guilt-ridden request to replace Hassan and Ali with new servants. Amir is miserable, unable to overcome his shame and unable to win his father’s affections.

When the Soviet invasion forces Amir and Baba to flee Afghanistan, Amir attempts to bury his past and rebuild his life in the United States. Amir matures as he receives an education, marries, grows his writing career, accepts the death of Baba, and tries to start a family of his own. However, his guilt remains relentless, and this misery becomes compounded by Amir’s inability to have a child with Soraya. After Rahim Khan beckons Amir back home and reveals that Hassan was Amir’s half-brother, Amir wonders if he’s “not yet too old” to take Baba’s advice and “start doing my own fighting.” The change in Amir is most evident when he fights Assef to rescue Sohrab, risking the life he built in America to atone for his betrayal of Hassan. Amir feels “healed at last,” marking the end of years of shame and freeing himself to selflessly adopt Sohrab into his family.

ACKNOWLEDGMENTS

I am indebted to the following colleagues for their advice, assistance, or support: Dr. Alfred Lerner, Don Vakis, Robin Heck, Dr. Todd Dray, Dr. Robert Tull, and Dr. Sandy Chun. Thanks also to Lynette Parker of East San Jose Community Law Center for her advice about adoption procedures, and to Mr. Daoud Wahab for sharing his experiences in Afghanistan with me. I am grateful to my dear friend Tamim Ansary for his guidance and support and to the gang at the San Francisco Writers Workshop for their feed back and encouragement. I want to thank my father, my oldest friend and the inspiration for all that is noble in Baba; my mother who prayed for me and did nazr at every stage of this book’s writing; my aunt for buying me books when I was young. Thanks go out to Ali, Sandy, Daoud, Walid, Raya, Shalla, Zahra, Rob, and Kader for reading my stories. I want to thank Dr. and Mrs. Kayoumy—my other parents— for their warmth and unwavering support.

I must thank my agent and friend, Elaine Koster, for her wisdom, patience, and gracious ways, as well as Cindy Spiegel, my keen-eyed and judicious editor who helped me unlock so many doors in this tale. And I would like to thank Susan Petersen Kennedy for taking a chance on this book and the hardworking staff at Riverhead for laboring over it. Last, I don’t know how to thank my lovely wife, Roya—to whose opinion I am addicted—for her kindness and grace, and for reading, re-reading, and helping me edit every single draft of this novel. For your patience and understanding, I will always love you, Roya jan.

ONE

December 2001

https://www.bilibili.com/video/BV1EU4y1W7A4

I became what I am today at the age of twelve, on a frigid overcast day in the winter of 1975. I remember the precise moment, crouching behind a crumbling mud wall, peeking into the alley near the frozen creek. That was a long time ago, but it’s wrong what they say about the past, I’ve learned, about how you can bury it. Because the past claws its way out.

Looking back now, I realize I have been peeking into that deserted alley for the last twenty-six years. One day last summer, my friend Rahim Khan called from Pakistan. He asked me to come see him. Standing in the kitchen with the receiver to my ear, I knew it wasn’t just Rahim Khan on the line. It was my past of unatoned sins.

meaning of :atone

After I hung up, I went for a walk along Spreckels Lake on the northern edge of Golden Gate Park. The early-afternoon sun sparkled on the water where dozens of miniature boats sailed, propelled by a crisp breeze. Then I glanced up and saw a pair of kites, red with long blue tails, soaring in the sky. They danced high above the trees on the west end of the park, over the windmills, floating side by side like a pair of eyes looking down on San Francisco, the city I now call home. And suddenly Hassan’s voice whispered in my head: For you, a thousand times over. Hassan the harelipped kite runner.

I sat on a park bench near a willow tree. I thought about something Rahim Khan said just before he hung up, almost as an after thought. There is a way to be good again. I looked up at those twin kites. I thought about Hassan. Thought about Baba. Ali. Kabul. I thought of the life I had lived until the winter of 1975 came and changed everything. And made me what I am today.

TWO

When we were children, Hassan and I used to climb the poplar trees in the driveway of my father’s house and annoy our neighbors by reflecting sunlight into their homes with a shard of mirror. We would sit across from each other on a pair of high branches, our naked feet dangling, our trouser pockets filled with dried mulberries and walnuts. We took turns with the mirror as we ate mulberries, pelted each other with them, giggling, laughing; I can still see Hassan up on that tree, sunlight flickering through the leaves on his almost perfectly round face, a face like a Chinese doll chiseled from hardwood: his flat, broad nose and slanting, narrow eyes like bamboo leaves, eyes that looked, depending on the light, gold, green, even sapphire I can still see his tiny low-set ears and that pointed stub of a chin, a meaty1 appendage that looked like it was added as a mere afterthought. And the cleft lip, just left of midline, where the Chinese doll maker’s instrument may have slipped; or perhaps he had simply grown tired and careless.

TWELVE

In Afghanistan, yelda is the first night of the month of Jadi, the first night of winter, and the longest night of the year. As was the tradition, Hassan and I used to stay up late, our feet tucked under the kursi, while Ali tossed apple skin into the stove and told us ancient tales of sultans and thieves to pass that longest of nights. It was from Ali that I learned the lore of yelda, that bedeviled moths flung themselves at candle flames, and wolves climbed mountains looking for the sun. Ali swore that if you ate water melon the night of yelda, you wouldn’t get thirsty the coming summer.

When I was older, I read in my poetry books that yelda was the starless night tormented lovers kept vigil, enduring the endless dark, waiting for the sun to rise and bring with it their loved one. After I met Soraya Taheri, every night of the week became a yelda for me. And when Sunday mornings came, I rose from bed, Soraya Taheri’s brown-eyed face already in my head. In Baba’s bus, I counted the miles until I’d see her sitting barefoot, arranging cardboard boxes of yellowed encyclopedias, her heels white against the asphalt, silver bracelets jingling around her slender2 wrists. I’d think of the shadow her hair cast on the ground when it slid off her back and hung down like a velvet curtain.

Soraya. Swap Meet Princess. The morning sun to my yelda.

I invented excuses to stroll down the aisle—which Baba acknowledged with a playful smirk—and pass the Taheris’ stand.

I would wave at the general, perpetually dressed in his shiny overpressed gray suit, and he would wave back. Sometimes he’d get up from his director’s chair and we’d make small talk about my writing, the war, the day’s bargains. And I’d have to will my eyes not to peel away, not to wander to where Soraya sat reading a paperback. The general and I would say our good-byes and I’d try not to slouch as I walked away.

EIGHTEEN

The sun had almost set and left the sky swathed in smothers of purple and red. I walked down the busy, narrow street that led away from Rahim Khan’s building. The street was a noisy lane in a maze of alleyways choked with pedestrians, bicycles, and rickshaws. Billboards hung at its corners, advertising Coca-Cola and cigarettes; Hollywood movie posters displayed sultry actresses dancing with handsome, brown-skinned men in fields of marigolds.

I walked into a smoky little samovar house and ordered a cup of tea. I tilted back on the folding chair’s rear legs and rubbed my face. That feeling of sliding toward a fall was fading. But in its stead, I felt like a man who awakens in his own house and finds all the furniture rearranged, so that every familiar nook and cranny looks foreign now. Disoriented, he has to reevaluate his surroundings, reorient himself.

How could I have been so blind? The signs had been there for me to see all along; they came flying back at me now: Baba hiring Dr. Kumar to fix Hassan’s harelip. Baba never missing Hassan’s birthday. I remembered the day we were planting tulips, when I had asked Baba if he’d ever consider getting new servants. Hassan’s not going anywhere, he’d barked. He’s staying right here with us, where he belongs. This is his home and we’re his family. He had wept, wept, when Ali announced he and Hassan were leaving us.
The waiter placed a teacup on the table before me. Where the table’s legs crossed like an X, there was a ring of brass balls, each walnut-sized. One of the balls had come unscrewed. I stooped and tightened it. I wished I could fix my own life as easily. I took a gulp of the blackest tea I’d had in years and tried to think of Soraya, of the general and Khala Jamila, of the novel that needed finishing. I tried to watch the traffic bolting by on the street, the people milling in and out of the little sweetshops. Tried to listen to the Qawali music playing on the transistor radio at the next table. Anything. But I kept seeing Baba on the night of my graduation, sitting in the Ford he’d just given me, smelling of beer and saying, I wish Hassan had been with us today. How could he have lied to me all those years? To Hassan? He had sat me on his lap when I was little, looked me straight in the eyes, and said, There is only one sin. And that is theft… When you tell a lie, you steal someone’s right to the truth. Hadn’t he said those words to me? And now, fifteen years after I’d buried him, I was learning that Baba had been a thief. And a thief of the worst kind, because the things he’d stolen had been sacred: from me the right to know I had a brother, from Hassan his identity, and from Ali his honor. His nang. Hisnamoos.

The questions kept coming at me: How had Baba brought himself to look Ali in the eye? How had Ali lived in that house, day in and day out, knowing he had been dishonored by his master in the single worst way an Afghan man can be dishonored? And how was I going to reconcile this new image of Baba with the one that had been imprinted on my mind for so long, that of him in his old brown suit, hobbling up the Taheris’ driveway to ask for Soraya’s hand?

Here is another cliché my creative writing teacher would have scoffed at; like father, like son. But it was true, wasn’t it? As it turned out, Baba and I were more alike than I’d ever known. We had both betrayed the people who would have given their lives for us. And with that came this realization: that Rahim Khan had summoned me here to atone not just for my sins but for Baba’s too.

Footnotes

  1. containing a lot of meat ↩

  2. thin in an attractive or elegant way ↩

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